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In her debut for Haenssler, the talented young soprano Juliane Banse is joined by Christoph Poppen. She has selected a highly intelligent recital including arias by Weber, Tchaikovsky, Massenet, Mozart and Puccini. She has distinguished herself not only for the beauty of her singing, but for the depth of her characterisations and deep empathy with the emotional world of the women she is portraying.
Wolfgang Amadeus Mozart: Cosi fan tutte, K. 588
Cosi fan tutte, K. 588, Act I: Recitative: Temerari! Sortite fuori di questo loco! - Aria: Come scoglio
Wolfgang Amadeus Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
Le nozze di Figaro (The Marriage of Figaro), K. 492, Act III: Recitativo and Aria: E Susanna non vien! … Dove sono i bei momenti
Carl Maria von Weber: Der Freischutz, J. 277
Der Freischutz, J. 277, Act II: Wie nahte mir der Schlummer
Pyotr Il'yich Tchaikovsky: Eugene Onegin, Op. 24
Eugene Onegin, Op. 24, Act I: Puskai pogibnu ya, no pryezhde
Bedrich Smetana: Prodana nevesta (The Bartered Bride) (Sung in German)
Prodana nevesta (The Bartered Bride), Act III: Endlich allein (Sung in German)
Giacomo Puccini: La boheme
La boheme, Act I: Si. Mi chiamano Mimi
Giacomo Puccini: Gianni Schicchi
Gianni Schicchi: O mio babbino caro
Jules Massenet: Manon
Manon, Act II: Allons! … il le faut! … Adieu, notre petite table
Georges Bizet: Carmen
Carmen, Act III: Recitative: C'est des contrebandiers le refuge ordinaire
Charles-Francois Gounod: Faust
Faust, Act II: O Dieu! Que de bijoux!
“The voice is a full lyric and quite beautiful, with plenty of warmth, security at all dynamic levels and a clear, even line from top to bottom...Her Mimì is sung directly and sweetly...Her Tatyana is breathless and girlish, and she sounds utterly sincere in every mood change and moment of self-doubt. Micaëla's aria is simply gorgeous, the tone solid, the legato ideal.”
“this latest recital from Hänssler is a classic in every way...Banse consistently uses her exceptionally sweet and pure voice with extraordinary precision, hitting exposed top notes effortlessly and shading her tone most subtly...When it comes to Tatyana's Letter Scene, [she] is masterly in drawing the contrasted sections together, helped by Christoph Poppen and his Saarbrucken orchestra, with its glorious horn section.”
“Banse sings with silvery clean, gently warmed beauty. However, her character analyses are occasionally rather odd. Take Lauretta, the love-struck innocent of Puccini's Gianni Schicchi. Banse has branded her a duplicitous fibber, and transformed her tender 'O mio babbino caro' into a hammed-up parody. However, there's still much to be savoured, including a particularly profound reading of Weber's 'Leise, leise, fromme Weise'.”
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